BART VAN DER LECK (1876-1958) de farizeeërs

pencil and black and blue pastels on paper




executed circa 1905

Utrecht, Tentoonstelling van Werken door B. van der Leck, January - February 1919, no. 4
Amsterdam, Stedelijk Museum, overzicht van het levenswerk van Bart van der Leck, 1949, no. 11, illustrated
Otterlo, Rijksmuseum Kröller-Müller / Amsterdam, Stedelijk Museum / Berlin, National Galerie Berlin, Bart van der Leck 1876-1958, July - September 1976 / September - November 1976 / February - March 1977, no. T18, illustrated
The Hague, Haags Gemeentemuseum, Kunstenaren der Idee. Symbolistische Tendenzen in Nederland, ca. 1880-1978, no. 143, illustrated
Laren, Singer Museum, April - June 1981, no. 449

Loosjes-Terpstra, 1959, pp. 186, 300, illustrated; Feltkamp 1956, p. 94, no. 2; Oxenaar 1976, pp. 32, 120; exhib. cat. Den Haag 1978, p. 165, no. 143, illustrated

Fully mounted on card, a few tiny dents in the upper left corner and along the left edge, one small foxing spot at the extreme lower left corner as can be seen on the illustration, otherwise in very good condition
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According to R.W.D. Oxenaar, this is one of a series of drawings executed at the end of 1905 or at the beginning of 1906, a.o.  number "De Vijf Dwaze Maagden" (The five mad virgins), "De Vijf Wijze maagden" (The five wise virgins), "Het kerstfeest" (Christmas) and The Farizeeers (the Farizeans). At this early stage of his career, Bart van der Leck was clearly influenced by Jan Toorop's symbolistic work. However, as Oxenaar states, the drawings show less complicated compositional elements compared to Toorop's linear works. De Farizeeërs is also reminiscent of the work of Antoon Derkinderen. Particularly the two-dimensional character of Derkinderen's monumental paintings greatly appealed to Van der Leck, whose work gradually became more stylised and symplified, depicting figures in strong outlines and rigid poses evoking medieval or Egyptian art (see lot 245).  According to the authors of the exhibition catalogue Kunstenaren der Idee, Van der Leck expressed in this drawing the hypocrisy of the Farizeans who, in spite of their expression of grief and devotion, do nothing to help Jesus and remain blind to his suffering. It is likely that Van der Leck wanted to criticize the orthodox christianity in which he was raised. In the drawing some figures seem to be portraits, such as the man with the glasses to the left. According to the family of Van der Leck, this figure could be identified as one of his academy-teachers, whom he disliked. It has also been suggested that the face of Jesus is a self-portrait of Van der Leck, as many fin-de-siècle artists regarded themselves as uncomprehended and outcasted visionaries